Lu Xun, Wade-Giles romanization Lu Hsün, pen name (biming) of Zhou Shuren
(born September 25, 1881, Shaoxing, Zhejiang province, China—died October 19, 1936, Shanghai), Chinese writer, commonly considered the greatest in 20th-century Chinese literature, who was also an important critic known for his sharp and unique essays on the historical traditions and modern conditions of China.

Youth

Born to a family that was traditional, wealthy, and esteemed (his grandfather had been a government official in Beijing), Zhou Shuren had a happy childhood. In 1893, however, his grandfather was sentenced to prison for examination fraud, and his father became bedridden. The family’s reputation declined, and they were treated with disdain by their community and relatives. This experience is thought to have had a great influence on his writing, which was marked by sensitivity and pessimism.

Zhou Shuren left his hometown in 1899 and attended a mining school in Nanjing; there he developed an interest in Darwin’s theory of evolution, which became an important influence in his work. Chinese intellectuals of the time understood Darwin’s theory to encourage the struggle for social reform, to privilege the new and fresh over the old and traditional. In 1902 he traveled to Japan to study Japanese and medical science, and while there he became a supporter of the Chinese revolutionaries who gathered there. In 1903 he began to write articles for radical magazines edited by Chinese students in Japan. In 1905 he entered an arranged marriage against his will. In 1909 he published, with his younger brother Zhou Zuoren, a two-volume translation of 19th-century European stories, in the hope that it would inspire readers to revolution, but the project failed to attract interest. Disillusioned, Lu Xun returned to China later that year.

Literary career

After working for several years as a teacher in his hometown and then as a low-level government official in Beijing, Lu Xun returned to writing and became associated with the nascent Chinese literary movement in 1918. That year, at the urging of friends, he published his now-famous short story “Kuangren riji” (“Diary of a Madman”). Modeled on the Russian realist Nikolay Gogol’s tale of the same title, the story is a condemnation of traditional Confucian culture, which the madman narrator sees as a “man-eating” society. The first published Western-style story written wholly in vernacular Chinese, it was a tour de force that attracted immediate attention and helped gain acceptance for the short-story form as an effective literary vehicle. Another representative work is the novelette A-Q zhengzhuan (1921; The True Story of Ah Q). A mixture of humour and pathos, it is a repudiation of the old order; it added “Ah Q-ism” to the modern Chinese language as a term characterizing the Chinese penchant for rationalizing defeat as a “spiritual victory.” These stories, which were collected in Nahan (1923; Call to Arms), established Lu Xun’s reputation as the leading Chinese writer. Three years later the collection Panghuang (1926; Wandering) was published. His various symbolic prose poems, which were published in the collection Yecao (1927; Wild Grass), as well as his reminiscences and retold classical tales, all reveal a modern sensibility informed by sardonic humour and biting satire.

In the 1920s Lu Xun worked at various universities in Beijing as a part-time professor of Chinese script and literature. His academic study Zhongguo xiaoshuo shilue (1923–24; A Brief History of Chinese Fiction) and companion compilations of classical fiction remain standard works. His translations, especially those of Russian works, are also considered significant.

Despite his success, Lu Xun continued to struggle with his increasingly pessimistic view of Chinese society, which was aggravated by conflicts in his personal and professional life. In addition to marital troubles and mounting pressures from the government, his disagreements with Zhou Zuoren (who had also become one of the leading intellectuals in Beijing) led to a rift between the two brothers in 1926. Such depressing conditions led Lu Xun to formulate the idea that one could resist social darkness only when he was pessimistic about the society. His famous phrase “resistance of despair” is commonly considered a core concept of his thought.

Shanghai years

Forced by these political and personal circumstances to flee Beijing in 1926, Lu Xun traveled to Xiamen and Guangzhou, finally settling in Shanghai in 1927. There he began to live with Xu Guangping, his former student; they had a son in 1929. Lu Xun stopped writing fiction and devoted himself to writing satiric critical essays (zawen), which he used as a form of political protest. In 1930 he became the nominal leader of the League of Left-Wing Writers. During the following decade he began to see the Chinese communists as the only salvation for his country. Although he himself refused to join the Chinese Communist Party, he considered himself a tongluren (fellow traveler), recruiting many writers and countrymen to the communist cause through his Chinese translations of Marxist literary theories, as well as through his own political writing.

During the last several years of Lu Xun’s life, the government prohibited the publication of most of his work, so he published the majority of his new articles under various pseudonyms. He criticized the Shanghai communist literary circles for their embrace of propaganda, and he was politically attacked by many of their members. In 1934 he described his political position as hengzhan (“horizontal stand”), meaning he was struggling simultaneously against both the right and the left, against both cultural conservatism and mechanical evolution. Hengzhan, the most important idea in Lu Xun’s later thought, indicates the complex and tragic predicament of an intellectual in modern society.

The Chinese communist movement adopted Lu Xun posthumously as the exemplar of Socialist Realism. Many of his fiction and prose works have been incorporated into school textbooks. In 1951 the Lu Xun Museum opened in Shanghai; it contains letters, manuscripts, photographs, and other memorabilia. English translations of Lu Xun’s works include Silent China: Selected Writings of Lu Xun (1973), Lu Hsun: Complete Poems (1988), and Diary of a Madman and Other Stories (1990).

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